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Preisdatenbank abonnierenPaul Cadmus (American, 1904-1999). Crayon on paper drawing depicting two female nude studies.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 12 1/4 in x width: 17 3/4 in. />Condition: There are no rips, losses, or restorations. Light handling marks throughout. The artwork is not framed.
Robert Rauschenberg (American, 1925-2008). Lithograph on BFK Rives paper titled "Lawn" depicting Rauschenberg's signature collage style, 1965. Signed, dated, and numbered 41/41 along the lower right. With a Dayton's Gallery 12 along the back.Sight; height: 34 3/4 in x width: 26 1/4 in. Framed; height: 39 1/2 in x width: 29 1/4 in. />Condition: There are no tears, losses, or restorations. there is a small stain along the verso which does not affect the recto. Light wear along the deckled edges. The work is hinged to a paperboard backing along the center, right, and left corners of the upper edge along the recto. The sheet appears to be slightly acidic as it has discolored the paperboard backing. Framed under glass; light wear to the frame.
Edmund William Greacen (American, 1876-1949). Small oil on canvas impressionist painting depicting an autumnal landscape. Signed along the lower left.Sight; height: 7 3/4 in x width: 9 3/4 in. Framed; height: 13 in x width: 15 in. />Condition: There are no losses, tears, or restorations when inspected under UV light. The colors are slightly dark, likely from varnish. Light soiling to the verso that does not affect the recto. Light wear to the frame.
Oil on canvas painting depicting a still life with an Asian porcelain vase with white calla lilies and pink lilies. Inscribed along the verso "Wm Hubacek."Sight; height: 21 1/2 in x width: 13 1/4 in. Framed; height: 25 1/2 in x width: 17 1/2 in. />Condition: The colors are bold and bright. The surface is stable. There are several areas of inpainting throughout the artwork, visible under UV light. Most notable in the following areas: both of the white calla lilies and the right margin. There are numerous other areas of inpainting throughout. There are stretcher bar marks throughout all four side. Along the verso, there are six noticeable patches corresponding to areas of inpainting on the recto. There is wear to the extreme edges of the canvas along the verso. All but one stretcher key is missing. Wear to the frame.
Jeanette Pasin Sloan (American, b. 1946). Lithograph titled "Blue Cup" depicting silver objects on a colorful striped sheet, 1994. Pencil signed along the lower right; titled along the lower center; numbered 7/60 along the lower left.Sight; height: 15 1/4 in x width: 15 in. Framed; height: 24 in x width: 24 1/4 in. />Condition: The item is in great condition with no visible tears, creases, or losses. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Jeff Joyce (American, 20th c). Large oil and acrylic on canvas landscape painting titled "The Everlasting Universe of Things" depicting beautiful rays of light spilling from behind a bank of clouds, 1996. Signed, dated, and titled along the verso. With a label from Jon Oulman Gallery, Minneapolis, Minnesota affixed to the stretcher along the verso.Unframed; height; 72 1/2 in x width: 59 1/2 in. Framed; height: 80 1/2 in x width: 68 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Jay Strongwater, United States. Metal figurine in the form of a sheep and a lamb for a Nativity set. With polychrome enamel and applied Swarovski crystals. Stamped along the underside. With the original packaging.Height: 1 1/2 in x width: 3 1/2 in x depth: 2 in. />Condition: There are no breaks, losses, bends, or major wear. Light wear to the original packaging.
John Gerletti (American, 20th/21st c). Handblown glass vase of undulating form in lavender fused with ochre, red, pink, white, and blue, 1983. Criss-crossed with dark lines throughout. Signed, dated, and incised "La Verne" along the underside.Height: 12 1/2 in x width: 9 1/2 in x depth: 8 1/2 in. />Condition: No visible cracks, chips, losses, or restorations. Bubbles throughout original to the artistic process. Very light wear consistent with light use and age. Some light roughness to the pontil, likely original to the artistic process.
Grant Wood (American, 1891-1942). Lithograph on paper titled "Seed Time and Harvest" depicting a farmer unloading a bushel of seeds from his wagon to a barn, 1937. Pencil signed and dated along the lower right. Wood was a key figure in the Regionalist art movement along with fellow artists Thomas H. Benton and John Steuart Curry.With a book about the artist: Wanda M. Corn, "Grant Wood: The Regionalist Vision," New Haven: Yale University Press, 1983. Published for the Minneapolis Institute of Art in conjunction with the exhibition "Grant Wood: The Regionalist Vision."Sight; height: 8 in x width: 12 1/4 in. Framed; height: 14 1/2 in x width: 18 1/2 in. />Condition: The sheet is toned and there is matburn along the perimeter of the image. There are heavy losses and tears in the margins (not visible when framed). There is a tear in the upper left corner that has been repaired with a piece of linen tape along the verso. The sheet is affixed to a non-acidic matboard with two pieces of linen framer's tape along the upper margin of the recto. Framed under glass; light wear to the frame. One of the screws for the framing hardware is loose. The paper backing has been cut along three edges to allow for inspection of the print.
George Morrison (Ojibwe, 1919-2000). Acrylic on canvas on board titled "Dappled Light Shadows (Red Rock Variation: Lake Superior Landscape)" depicting a deep red and purple sunset on Lake Superior, 1993. Signed, dated, and titled along the verso. Housed in a frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.Although his body of work on horizons didn’t make overt reference to his Ojibwe roots, it instead offers a respectful nod to Ojibwe culture. In creating this body of work, he ushered in a change to expectations imposed on Native artists, offering himself as a catalyst towards breaking the barrier that relegated Native American artists to feel a pressure to center upon subjects that were overtly self-reflective and rooted in identity politics. This effort boosted Moorison into a champion founder of Native American modernism. He taught at colleges like the Rhode Island School of Design and later taught American Indian studies and art at the University of Minnesota. A spotlight in the Minnesota art scene, Morrison’s success stemmed from his eventual grounding in nature and Anishinaabe culture and using that to offer his take on spiritual landscape paintings.Morrison is also well-known for his woodcut collages, large in scale with a look that was either all natural in driftwood or all polished with sanded, sculpted wooden pieces. The collages display horizontally, again with an intent of capturing the shifting movements of the horizon. He altered the medium once more by creating rubbings of his wood collages, further emphasizing patterns created by momentary sights of the horizon and which served to re-invigorate the works with the rawness witnessed in the natural environment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 5 in x width: 16 in. Framed; height: 7 1/4 in x width: 18 1/4 in. />Condition: The painting is in excellent condition. There are no losses, restorations, or splits to the board. There are two minute black spots along the upper right of the blue expanse which fluoresce under UV light. Some light wear and adhesive residue along the verso. Very light wear to the frame.
Charles Louis Kratke (French, 1848-1921) after Etienne Pierre Theodore Rousseau (French, 1812-1867). Etching on laid paper after a Theodore Rousseau painting titled "Banks of the Oise" depicting an idyllic riverside landscape and a fisherman, 1883. Signed in plate by Kratke along the lower right. Th. Rousseau signature in plate along the lower right of the image. Crown watermark. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: Light toning and light undulation to the sheet throughout. Some light wear along the edges. Light crease to the upper left corner. Pencil number 24 along the upper right. Spot of foxing to the upper right corner. Not framed.
Harold Newton (American, 1934-1994). Oil on board seascape painting depicting waves crashing on the shore with a low sun. Incised signature "H, Newton" along the lower right corner. Newton was a founding member of the Florida Highwaymen, a group of fellow African American landscape artists. He was often inspired by the coastline of Florida and the present work is an excellent example of this.Sight; height: 23 1/2 in x width: 47 1/2 in. Framed; height: 26 in x width: 50 in. />Condition: The colors are bold and bright. The surface is stable. No signs of restoration under UV light. There is light craquelure throughout. There are numerous accretions throughout including: a network of minute black spots along the center of the painting, a few yellow spots along the upper right, accretions visible under UV light along the lower edge. There are vertical streaks consistent with moisture exposure throughout the work. There are small holes/areas of loss along the extreme edges of the work, visible in the listing photos. There are light scratches to the paint layer throughout, some measuring approx.4 inches in length. Along the verso there is evidence of further moisture exposure including a tideline along the lower left (lower right of the recto) that is not readily apparent along the recto. There is a slight undulation to the board consistent with the area of water exposure. Numerous paint accretions along the verso, possibly original to the artistic production. The paper backing shows further evidence of water exposure in the form of vertical streaks. The paper backing of the frame has been cut along three edges to allow for inspection.
Aaron Fink (American, b. 1955). Oil on linen painting titled "Pink Rose (Teal Ground)" depicting a blooming flower, 2002. Signed and dated along the verso. With a label from Alpha Gallery along the verso.Provenance: Alpha Gallery, Boston, Massachusetts; Private Minnesota Collection.Height: 48 in x width: 36 in. />Condition: The colors are bold and bright. The surface is stable and there are no apparent losses, cracks, or restorations when inspected under UV light. Light wear along the exposed edges. The work is not framed.
James Rosenquist (1933-2017). Lithograph on handmade Italian Magnani paper titled "Dusting off Roses" depicting six blooming red roses, 1965. Pencil signed and dated along the lower right; numbered 28/35 along the lower center; titled along the lower left.Sight; height: 30 1/2 in x width: 21 1/2 in. Framed; height: 42 in x width: 32 1/2 in. />Condition: The colors are bold and bright and the surface appears stable. No visible rips, losses, creases, or restorations. The artwork is floated in frame. Framed under plexiglass; light wear to the frame; not inspected out of frame.
Andy Warhol (American, 1928-1987). "Andy Warhol's Index Book." New York: A Black Star Book/ Random House, 1967. Printed by Graphics International, Inc., Japan. Artist's book with offset lithograph, pop-ups, fold-outs, collage additions, and one 7" flexi disc.Height: 11 in x width: 8 1/2 in. />Condition: All pages appear to be present. All pieces appear to be present. There is one round pop-up piece that has come disattached. There are two pages in the back of the book that are stuck together, possibly intentionally. Some light toning to the white pages present. Some wear to the cover of the book included a partially removed sticker along the upper right and some dents along the corners. There are also some light scratches and scuffs to the cover.
Paul Cadmus (American, 1904-1999). Two-sided study for David and Goliath. One side with a crayon drawing depicting David with the severed head of Goliath. The other side with a mixed media sketch of David's back.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 13 1/2 in x width: 17 3/4 in. />Condition: There is a notch cut out of one corner, visible in the lot listing. There is a crease along one edge and one corner. There is an undulation to the sheet throughout. Some light handling marks. The artwork is not framed.
Dhruva Mistry (Indian/British, b. 1957). Oil on panel painting titled "Another Day in Paradise" depicting a surrealist or mythological landscape, 1998. Signed and dated along the lower right. Titled in pencil along the verso.Sight; height: 10 in x 10 in. Framed; height: 11 1/2 in x 11 1/2 in. />Condition: The colors are bold and bright. There are no splits to the wood. Some very light surface marks. No deep scratches, losses, or restorations when inspected under UV light. Light wear to the metal frame.
Barton S. Hays (American, 1826-1914). Group of three oil on canvas portrait painting including: one depicting a youth in a light blue dress with a white collar, one depicting a feminine figure in a black dress against brown background, and one profile portrait depicting a feminine figure in dark colored dress. The young boy is B.S. Hays' grandson, Barton D. Hinshaw. The other two paintings depict B.S. Hays' second wife, Amy.Provenance: From the private collection of B.S. Hays, passed down through his family.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height ranges from 9 3/4 in to 18 in; width ranges from 7 3/4 in to 14 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Aldo Tura, Italy. Mid-century Modern lacquered goatskin bar cabinet. With a mirrored backing along the interior and glass shelves along the a light. Including the key to lock the cabinet and castors. Often referenced with Italian maverick designers such as Piero Fornasetti and Carlo Bugatti, Aldo Tura focused on creating his designs using specific materials rather than abundant figurative decorations.Height: 39 in x width: 31 1/2 in x depth: 15 3/4 in. />Condition: There are scuffs and scratches throughout. There are minute chips throughout, in particular along top and bottom edges of the left side. All hinges and key lock are functional, as is the interior light. There is wear as expected from age and use.
Valerie Surjan (American, b. 1946) for Nourot Art Glass Studio, United States. Black and white studio art glass cameo vase depicting zebras and other African animals, 1990. Signed, dated, numbered 2057, and inscribed "Nourot" along the underside.Height: 8 1/2 x diameter: 7 1/2 in. />Condition: There are no chips, cracks, losses, or restorations. Light wear throughout including some light scratches. Some roughness to the pontil, original to production.
Auguste Boulard Jr. (French, 1852-1927) after Etienne Pierre Theodore Rousseau (French, 1812-1867). Etching on laid paper after a Theodore Rousseau painting titled "Edge of the Woods of Monts Girard" depicting an idyllic landscape, 1883. Signed in plate by Boulard along the lower right. Crown watermark. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: There is light toning and undulation to the sheet. Light wear along the edges. No major creases, tears, losses, or restorations. Pencil number 64 along the upper right corner.
Rembrandt Harmenszoon Van Rijn (Dutch, 1606-1669). Etching on paper titled "The Strolling Musicians," depicting a group musicians and a dog playing their tunes for a group of individuals at a window. Second state printing, ca. 1635.Literature: Hollstein, 119/II; New Hollstein, 141/II.Sight; height: 5 1/2 in x width: 4 1/2 in. Framed; height: 9 1/4 in x width: 8 1/2 in. />Condition: The colors are bold and deep. There are no visible rips, losses, or restorations. There is a light undulation to the sheet. The sheet has been trimmed to within the impression of the plate. Some light wear along the extreme edges. The sheet is floated in the frame. Light wear to the frame; framed under glass; not inspected out of frame.
Suzanne Caporael (America, b. 1949). Relief on Echizen Kozo print titled "Job Island" depicting a sloping shore and rocky outcroppings, 2009. Pencil signed and dated along the lower right; numbered 28/30 along the lower left. Published by Tandem Press.Sight; height: 6 1/4 in x width: 14 1/2 in. Framed; height: 15 1/2 in x width: 23 in. />Condition: There are no visible tears, creases, losses, or restorations. The colors are bold and bright. Housed under a non-acidic mat. Framed under plexiglass; light wear to the frame; not inspected out of frame.
Warren Mackenzie (American, 1924-2018). Group of two studio pottery ceramic lidded bowls. One Warren MacKenzie; stoneware with a tenmoku glaze. One with a dolomitic glaze stamped with a "W" along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.(Light) Height: 3 1/2 in x diameter 6 in. (Dark) Height: 4 in x diameter: 5 1/2 in. />Condition: There are no major losses or signs of restoration. The black item has a minute chip along the interior of the rim of the lid. The light item has a three inch crack along the exterior, just above the foot rim. There is wear throughout both items, consistent with age and use.
Odon Morinyi "Edmund Pick-Morino" (Hungarian, 1877-1958). Oil on canvas still life painting depicting vegetables on a table, 1912. Signed and dated along the upper right corner.Height: 14 1/2 in x width: 17 1/2 in. />Condition: The colors are bold and deep. There are small losses throughout, especially along the edges. Some surface marks throughout. Stretcher bar marks along all four edges. Craquelure along the foremost onion. Some small impressions along the surface. No apparent restorations when inspected under UV light. Some wear to the stretcher. The artwork is not framed.
Group of four American pottery pieces including:Fulper, United States. A pair of small handled vessels with long necks and ovoid bodies. One marked Fulper along the underside, ca. 1917-1934.One Roseville Futura style vase with angular decoration in blue and green along the sides and with a stepped neck.One hexagonal vase in brown with a wide footrim and long, thin neck. Likely Roseville.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 5 in to 7 in; width ranges from 2 1/2 in to 4 1/2 in; depth ranges from 2 1/4 to 3 in. />Condition: Three of the vases do not have any chips, cracks, losses, or restorations. One vase (the square vase) has a chip along the upper rim. Light wear throughout all pieces. Light wear to the footrims consistent with age and use.
Sergio Asti (Italian, 1926-2021) for Up & Up, Italy. Modernist marble ribbed bowl or shallow dish.Height: 1 3/4 in x diameter: 7 3/4 in. />Condition: There are no major cracks, breaks, losses, or restorations. There is some light dust buildup throughout the grooves on the upper surface. There are eight fixed rubber tabs attached to the lower surface of the bowl as well as a small rectangular sticker. There is evidence of glue residue surrounding the rubber tabs on the lower surface. There are some minor horizontal scratches along the outer circumference.
Sir Jacob Epstein KBE (American/British, 1880-1959). Bronze sculpture titled "Nude Study 'A' (Betty Peters)" depicting a nude woman with her arms outstretched above her head, ca. 1943-45. Betty Peters was one of Epstein's favorite models. She managed a hostel for sailors in London's East End and is represented in numerous works by the artist from bronze and plaster to drawings and watercolors.Height: 28 in x width: 7 in x depth: 3 1/2 in. />Condition: There are no bends, breaks, losses, or restorations to the bronze. There are areas of accumulated dirt and/or dust in the recesses of the work. There are some areas with a verdigris patination. Along the underside of the bronze there are four points with a high polish: one along each heel, one on the back of her hair, and one along the back of her hands. There is a 1 1/2 inch area of discoloration on her buttocks, possibly from a label, now missing. Light wear throughout from age and use.
Fabio Novembre (Italian, b. 1966) for Meritalia, Italy. Chair from the "Air Lounge" line, first designed in 2006. Inspired by Mid-Century Modern design. The ribbon-form seat is upholstered in a two-toned dark and light gray ultra suede. Original tag attached along the underside.Height: 31 in x width: 33 in x depth: 30 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Rod Massey (American, b. 1949). Oil on panel painting titled "Untitled #0217" depicting houses buried in fresh white snow, 2002. Likely depicting homes in St. Paul or Minneapolis. Signed and dated along the verso. With a label from Groveland Gallery in Minneapolis, Minnesota along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 20 1/2 in x width: 26 in. Framed; height: 25 1/4 in x width: 31 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Robert Fisch (Hungarian/American, 1925-2022). Gouache on paper painting depicting an abstract white shape against a black background. Signed along the lower right. Fisch was a Holocaust survivor and world-renowned pediatrist as well as an artist and author. He studied art at the Minneapolis College of Art and Design (MCAD), conceived of the Minnesota History exhibit "The Value of One Life," exhibited at the Minneapolis Institute of Art (Mia), and the Weisman Art Museum in Minneapolis, Minnesota. He died on his 97th birthday in 2022.Height: 22 1/2 in x width: 15 in. />Condition: No visible tears, creases, or losses. Wear along four margins, most likely to be original to the artistic practice. Surface stretches throughout the recto. Throughout the recto, there is a network of minute white spots that show underlying paper and are not completely covered with paint, which appears to be original. To the center of the image, there is an unevenness to the black pigment; however, it does not appear to be a restoration. No visible sign of restoration under UV light. Along the verso, front image lines have been transmitted; please see the listing image. Along the lower margin, there is a minute paint mark, which does not affect the recto.
Brook Temple (American, b. 1934). Op-art serigraph print on paper featuring a design of yellow, green, purple, and black, 1971. Signed, dated, and numbered 57/100 along the lower left.Sight; height: 27 1/2 in x width: 27 in. Framed; height: 29 in x width: 29 in. />Condition: No visible creases or losses. There are two lines of tears to the upper layer of the print along the center right of the item, approximately 1 1/2 inches long each. There are several areas with surface scratches throughout the recto. There are minute white accretions along the lower left quadrant. Restoration is not visible under UV light. Framed under plexiglass; not inspected out of frame. Wear to frame.
Jay Strongwater, United States. Small gilt metal octagonal picture frame. With polychrome enamel decoration and applied Swarovski crystals. Stamped along the back. With the original packaging.Height: 3 1/4 in x width: 3 in. />Condition: The item is in good condition with no cracks, bends, or breaks. There is a small loss to the gilt metal along the upper left corner, visible in the lot listing. All stones present. Light wear to the original packaging.
Roland W. Reed (American, 1864-1934). Photogravure titled "The Hunting Ground (Piegan, Montana)" depicting a scene of three Piegan Native Americans riding horses by a river, ca. 1912. Pencil signed along the lower right. Titled and dated along the verso in pen.Reed returned throughout his life to Minnesota, though his sense of wanderlust compelled him to travel throughout the United States. His subjects were often Native Americans and he was part of a school of photographers known as "Pictorialists" whose emphasis on light and focus defined their works. His works are often part of a tradition of photographs taken during this time aimed at capturing the "Disappearing Indian," based on the notion that Native Americans' traditional way of life was disappearing rather than changing.Height: 7 3/4 in x width: 9 3/4 in. />Condition: The sheet is toned. There is a small loss along the lower left edge measuring approx. 1/2" in length. There is a tear along the lower right edge measuring approx. 1" in length; there is a tear along the upper left edge measuring approx. 3/4" in length. There is a large crease along the lower right corner measuring approx. 2" in length. Wear along the edges. There is an undulation to the sheet; the top and bottom edge curl inwards. Light soiling along the verso.
Walasse Ting (Chinese/American, 1929-2010). Watercolor on paper depicting a woman hiding her face behind a fan. With a red seal stamp along the lower left.Lot Essay:Walasse Ting was a painter and a poet, a powerhouse in the mid-20th century art and intellectual scene. His work was fluorescent and shocking, intended to confront the viewer and force them to pause their worldly cares to focus on beauty. Born Ding Xiongquan in Wuxi, Jiangsu province in 1929, Ting had little formal artistic education. After a brief stint at the Shanghai Art Academy, he left for Paris, arriving in 1949. He quickly fell in with the CoBrA group, an avant-garde collective of artists known for their spontaneous way of painting and rebellion against the artistic establishment. Their emphasis on Outsider Art had a profound effect on Ting, especially since he had little art training and tended to see himself as an outsider in the art world.In 1959, he left Paris for New York City, where he was influenced by Pop Art and Abstract Expressionism. He became friends with many artists working in these styles, including greats such as Andy Warhol, with whom he once put on a joint exhibition. His work was influenced by these connections, pulling ideas from both movements and fluctuating between abstraction and figural works with a unique ease. He also began finding inspiration in more traditional sources, using bold strokes inspired by the calligraphy of his native China. In addition to art, he began publishing poetry during this period, both original poems and translations of classical Chinese poems. He published thirteen books, many of which contained illustrations by himself and his artistic contemporaries.In 1970, he won the Guggenheim Fellowship Award for Drawing. His career continued to flourish, and he split his time between New York and Amsterdam, painting, writing, and displaying his works. He additionally made many trips to Paris to exhibit at the Salon de Mai and traveled to Tahiti to explore the tropical landscapes and colors.During his long and varied career, he had over 60 solo exhibitions of his paintings, as well as making forays into theater direction and teaching. In all his endeavors, he tried to use art to bring beauty into the lives of as many people as possible, because, in his words, “[w]ithout beauty, life makes no sense."Sight; height: 14 in x width: 19 in. Framed; height: 19 1/4 in x width: 28 1/4 in. />Condition: There are no tears, losses, or restorations. Natural texture to the sheet due to the paper type. The colors are bold and bright. The paper is affixed to a backing. Framed under glass; light wear to the frame. The paper backing has been removed to allow for inspection of the work.
Felix Bracquemond (French, 1833-1914) after Jean-Baptiste-Camille Corot (French, 1796-1875). Etching on laid paper after a Corot painting titled "The Nymph and the Tiger" depicting a reclining nude woman holding a dead bird out towards a leopard that is ridden by a cherubic child, 1883. Signed in plate by Delauney along the lower right. Corot signautre in plate along the lower left of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: The sheet is lightly toned and there is a light undulation to the sheet. There is a crease along the upper left corner. Some light handling marks along the edges. Light wear to the deckled edges. There is a pencil number 38 along the upper right corner. There is a small pencil arrow pointing to Corot's signature. Not framed.
Jay Strongwater, United States. Gilt metal figurine in the form of a standing donkey with a blanket for a Nativity set. With polychrome enamel and applied Swarovski crystals. Stamped along the underside. With the original packaging.Height: 4 3/4 in x width: 2 in x depth: 5 1/2 in. />Condition: There are no breaks, losses, bends, or major wear. Light wear to the original packaging.
Charles Eames (American, 1907-1978) and Ray Eames (American, 1912-1988) for Herman Miller, United States. Mid-century modern style model 670 lounge chair and ottoman, manufactured between 1984-1999. With a Herman Miller late black strip label affixed along the underside.Ottoman; height: 15 in x width: 24 1/2 in x depth: 22 in. Chair; height: 34 in x width: 35 in x depth: 32 3/4 in. />Condition: The chair and ottoman are structurally sound and stable. They are both in good condition with only very light wear throughout. No major scratches, tears, losses, breaks, or repairs. There are no rips and only light wear to the leather. Some very light wear along the underside and metal bases.
Eugene Gaujean (French, 1850-1900) after Charles-Francois Daubigny (French, 1817-1878). Etching on laid paper after a 1843 Daubigny painting titled "Banks of the Oise" depicting an idyllic riverside landscape, 1883. Signed in plate by Gaujean along the lower right. Daubigny signature and date in plate along the lower right of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: The sheet is lightly toned and there is a light undulation to the sheet. There is a loss along the lower right edge. Wear to the edges. There is a small tear along the upper left edge. The number "68" is written in pencil along the upper right; "Banks of the Oise" is written in pencil along the lower right. Not framed.
Czechoslovakian hand cut crystal bowl, profusely decorated with geometric designs. In a shallow form with an everted rim, decorated with fluted edging.Height: 4 in x diameter: 13 3/4 in. />Condition: No visible cracks, chips, or losses. No visible sign of restoration under UV light. Along the underside, there is unidentified residues adhered.
David Roth (American, b. 1942). Serigraph on graph paper print depicting an Op-art range of colorful dots, 1974. Pencil signed, dated, and numbered 2/20 along the lower right.Unframed; height: 23 in x width: 53 in. Framed; height: 29 in x width: 59 1/2 in. />Condition: The piece shows no visible tears, losses or signs of restoration under UV light. The color is bold and bright. The sheet appears to be very slightly toned and has undulation throughout. In the upper left corner, there is a minute crease. In the upper center of the right margin, there is a light handling mark. In the left of the lower margin, there is a light brown mark that is possibly transmitted from the verso. Framed under plexiglass; not inspected out of frame; very light wear to the frame.
Set of 13 Venetian Murano blown glass goblets with a white latticino reticello pattern.(Each) Height: 7 1/2 in x diameter: 3 in. />Condition: There are no chips, major scratches, losses, or wear. All appear to be in good condition. Some very light roughness to the pontil along the underside, original to production.
Jay Strongwater, United States. Gilt and polychromed glass ornament in the form of a nutcracker. With polychrome enamel and applied Swarovski crystals. Stamped along the underside. With the original packaging.Height: 7 in x width: 2 in x depth: 1 1/2 in. />Condition: There are no breaks, losses, bends, or major wear. Light wear to the original packaging.
Pierre Bonnard (French, 1867-1947). Etching on paper titled "Interior with a Cat" depicting a cat resting on a table surrounded by plants. Initialed along the lower center.Sight; height: 7 1/2 in x width: 5 1/4 in. Framed; height: 14 1/4 in x width: 11 1/2 in. />Condition: There are no visible creases, chips, tears, losses, or restorations. The sheet is toned. There are a few minute spots of foxing. Framed under glass; light wear to the frame; not inspected out of frame.
William Clift (American, b. 1944). Silver gelatin print photograph titled "Shadow, Mont St. Michel, France" depicting a shadow of the famous tidal island and the sea, 1977. The work is pencil signed, dated, and titled along the verso.Sight; height: 4 3/4 in x width: 6 in. Framed; height: 11 1/4 in x width: 14 1/4 in. />Condition: No visible tears, creases, or losses. The emulsion appears to be smooth and good. To the upper right and left corners of the image, there are minute white and black dots, which appear to be original to the developing process. No visible sign of restoration under UV light. Light wear along the edges. There are lines of gray discoloration along the extreme edges which are not visible when framed. The work is affixed to a non-acidic matboard with two pieces of framer's tape affixed to the upper edge of the verso. It is additionally affixed to the matboard with four plastic corner tabs. Housed between two non-acidic mats. Framed under glass; light wear to the frame.
Reed Kay (American, b. 1925). Oil on canvas painting titled "Main Street, Gloucester" depicting city street with storefronts, 2000. Signed along the lower left. With a label from Alpha Gallery affixed to the verso.Provenance: Alpha Gallery, Boston, Massachusetts; Private Minnesota collection.Unframed; height: 12 in x width: 18 in. Framed; height: 13 1/4 in x width: 19 in. />Condition: The painting is in great condition with no visible creases or tears, or major losses. The surface is stable, and the color is bold and bright. Along the extreme edges, there are several minute paint losses, possibly against the previous frame; however, it does not affect the overall appearance of the painting. No visible sign of restoration when inspected under UV light. Very light wear to the frame.
After Frederick Remington (American, 1861-1909). Large bronze sculpture depicting a man perched precariously on a horse descending a steep slope. Incised signature along the base.Height: 62 1/2 in x width: 36 in x depth: 18 in. />Condition: Light wear throughout including some wear along the extreme edges. Some patination throughout. Light dirt and dust gathered in the recessed areas of the work.
Karel Liebscher (Czech, 1851-1906). Oil on canvas landscape painting depicting a hilltop castle surrounded by an idyllic river valley. Signed along the lower left. With a label from Juhl Importing Company indicating a cleaning in April 1963 affixed to the verso.Unframed; height: 12 1/2 in x width: 17 in. Framed; height: 16 in x width: 20 1/2 in. />Condition: The colors are bold and bright and the surface is stable. There is craqeluere throughout. There is a spiral crack below the castle. A layer of varnish makes discerning any possible restorations difficult. No obvious signs of inpainting when examined under UV light. Light wear to the frame.
Nicolas Africano (American, b. 1948). Large oil and wax on handmade paper drawing titled "He Tried to Carry Something Too Large" depicting a man carrying a large log, 1988-89. Signed along the lower margin. Inscription along the upper right reading "March 1988, He tried to carry something too large, he felt like he was falling." With two gallery labels along the verso: one from Michael H. Lord Gallery in Milwaukee, Wisconsin; one from Holly Solomon Gallery in New York.Sight; height: 47 in x width: 72 1/2 in. Framed; height: 58 1/2 in x 82 in. />Condition: There are no visible, tears, creases, losses, or restorations. There are marks and small stairs throughout the sheet; due to the nature of the handmade paper these may be orignal to production. Light wear along the deckled edges. The artwork is in frame. Framed under plexiglass; light wear to the frame; not inspected out of frame.
Adolphe Lalauze (French, 1838-1906) after Jean-Louis-Ernest Meissonier (French, 1815-1891). Etching on laid paper after an 1869 Ernest Meissonier painting titled "Playing Bowls at Antibes" depicting an a group of figures playing a ball game outside city walls, 1883. Signed in plate by Lalauze along the lower right. Meissonier signature and date in plate along the lower right of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: There is light toning and undulation to the sheet throughout. There is light wear along the edges. Pencil number 14 along the upper right corner. There is a minute hole along the lower right corner of the image; the hole is only noticeable upon close inspection or with a back light. Not framed.
Valerie Surjan (American, b. 1946) for Nourot Art Glass Studio, United States. Red studio art glass cameo vase depicting peaches, 1990. Signed, dated, numbered 2039, and inscribed "Nourot" along the underside.Height: 8 1/2 x diameter: 7 1/2 in. />Condition: No chips, cracks, losses, or restorations. Light wear throughout including a few light scratches. Some roughness to the pontil, original to production.
Valerie Surjan (American, b. 1946) for Nourot Art Glass Studio, United States. Black and white studio art glass cameo vase depicting cheetahs, 1990. Signed, dated, numbered 2051, and inscribed "Nourot" along the underside.Height: 8 1/4 in x diameter: 7 1/2 in. />Condition: There are no chips, cracks, losses, or restorations. Light wear throughout including some light scratches. Some roughness to the pontil, original to production.
Rookwood Pottery, Ohio, USA. Group of four Arts & Crafts pottery pieces, 1917-1925. Including:One matte pink bowl of lobed form with square adornments. Date mark of 1925, maker's mark, and style number 2133 impressed along the underside.One matte green and blue vase of conical form. With two handles along the sides and impressed designs. Date mark of 1917, maker's mark, and style number 1884 impressed along the underside.One glossy brown vase with designs of pinecones along the shoulder. Date mark of 1922, maker's mark, and style number 1889 impressed along the underside.One pentagonal vase with a glossy blue glaze depicting ravens along each of the five sides. Date mark of 1924, maker's mark, and style number 1795 along the underside.Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height ranges from 2 in to 6 3/4 in; diameter ranges from 2 3/4 in to 4 1/4 in. />Condition: The vases are in generally good condition with no chips, losses, or restorations. Light wear throughout including along the footrims as expected from age and use. There are two very small hairline cracks along the upper rim of the brown vase. Some light crazing to the glazes.
Charles Warren Eaton (American, 1857-1937). Oil on canvas landscape painting depicting a low-hanging sun on the horizon of a darkened landscape. Signed along the lower left.Unframed; height: 12 in x width: 9 in. Framed; height: 16 in x width: 14 in. />Condition: The colors are bold and deep. There is an area of restoration visible under UV light along the center of the composition. There is an additional, smaller area of inpainting along the lower right quadrant. Due to a thick varnish it is difficult to discern if there are any further areas of inpainting. There is a slight undulation to the canvas due to slight seperation along the joints of the stretcher. Some light soiling to the verso that does not appear to affect the recto. Light wear including some small chips and losses to the frame. The verso is protected by a piece of non-acidic matboard.
Eugene-Andre Champollion (French, 1848-1901) after Maria Josep Maria Bernat Fortuny i Marsal "Mariano Fortuny" or "Maria Fortuny" (Spanish, 1838-1874). Etching on laid paper after a Fortuny artwork titled "Choosing the Model" depicting a group of men in a salon observing a nude female model, 1883. Signed in plate by Champollion along the lower right. Fortuny signature in plate along the lower right of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in. />Condition: There is light toning and undulation to the sheet throughout. There is light wear to the edges throughout. Pencil number 6 along the upper right corner. There is a minute spot of thinner paper (it does not appear to be a hole, but possibly is an area of skimming) along the upper left quadrant. Not framed.
Michael Spano (American, b. 1949). Silver gelatin print photograph on rough surface paper titled "Eastern Parkway, Brooklyn, 1981" depicting a street scene with two men facing each other, 1986. Signed along the lower right; editioned 81/193.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 22 1/4 in x width: 51 in. Framed; height: 29 in x width: 58 1/4 in. />Condition: The photograph is in good condition with no visible tears, creases, or losses. When inspected under UV light, there is no visible sign of restoration. The emulsion appears to be smooth. Along the right and left margins, there is an area where the line appears clear, which appears to be original to the development process. There is undulation to the photograph visible along the upper margin.
Walasse Ting (Chinese/American, 1929-2010). Lithograph on paper depicting a simple line drawing depicting one woman whispering into the other's ear, 1977. Pencil signed and dated along the lower right; editioned "Artist Proof" along the lower left. Possibly inspired by the works of Henri Matisse during one of the artist's trip to Paris.Lot Essay:Walasse Ting was a painter and a poet, a powerhouse in the mid-20th century art and intellectual scene. His work was fluorescent and shocking, intended to confront the viewer and force them to pause their worldly cares to focus on beauty. Born Ding Xiongquan in Wuxi, Jiangsu province in 1929, Ting had little formal artistic education. After a brief stint at the Shanghai Art Academy, he left for Paris, arriving in 1949. He quickly fell in with the CoBrA group, an avant-garde collective of artists known for their spontaneous way of painting and rebellion against the artistic establishment. Their emphasis on Outsider Art had a profound effect on Ting, especially since he had little art training and tended to see himself as an outsider in the art world.In 1959, he left Paris for New York City, where he was influenced by Pop Art and Abstract Expressionism. He became friends with many artists working in these styles, including greats such as Andy Warhol, with whom he once put on a joint exhibition. His work was influenced by these connections, pulling ideas from both movements and fluctuating between abstraction and figural works with a unique ease. He also began finding inspiration in more traditional sources, using bold strokes inspired by the calligraphy of his native China. In addition to art, he began publishing poetry during this period, both original poems and translations of classical Chinese poems. He published thirteen books, many of which contained illustrations by himself and his artistic contemporaries.In 1970, he won the Guggenheim Fellowship Award for Drawing. His career continued to flourish, and he split his time between New York and Amsterdam, painting, writing, and displaying his works. He additionally made many trips to Paris to exhibit at the Salon de Mai and traveled to Tahiti to explore the tropical landscapes and colors.During his long and varied career, he had over 60 solo exhibitions of his paintings, as well as making forays into theater direction and teaching. In all his endeavors, he tried to use art to bring beauty into the lives of as many people as possible, because, in his words, “[w]ithout beauty, life makes no sense."Sight; height: 27 3/4 in x width: 39 3/4 in. Framed; height: 30 1/4 in x width: 42 in. Condition: The sheet is toned. There are stains and foxing throughout, visible in the lot listing. No visible tears, creases, or losses. Light wear to the frame; framed under plexiglass; not inspected out of frame. The paper backing has been cut along three sides to see if the print could be rolled for shipping. The print can be rolled for shipping.
Paul Chesley (American, b. 1946). Color photograph titled "Snow Storm with Canvas" depicting a man caught in a blustery winter street. Signed in pen along the lower right. Born in Red Wing, Minnesota, Chesley is known for his work with National Geographic.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 14 1/2 in x width: 19 1/2 in. Framed; height: 22 3/4 in x width: 28 in. />Condition: No visible tears, creases, or losses. Light undulation throughout the recto. No visible sign of restoration. Not inspected out of frame. Very light wear to the frame.
Tsimshian ceremonial hawk spirit mask from the Pacific Northwest. Hand-carved and painted with bright yellow, red, white, and black.Height: 8 3/4 in x width: 7 in. />Condition: No visible cracks or losses. No visible dents. No visible signs of restoration under UV light. The color is bold and bright. There are minute dents along the edges, particularly along the edge that meet the face. Light wear throughout.
Jay Strongwater, United States. Gilt metal "Pip" trinket box in the form of a monkey. With polychrome enamel decoration and applied Swarovski crystals. Stamped along the underside. With the original packaging. Stamped along the underside.Height: 2 3/4 in x width: 3 1/2 in x depth: 3 in. />Condition: The item is in good condition with no cracks, breaks, or losses. All stones present. Light wear to the original packaging.
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